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Progarchives, the progressive rock ultimate discography
Progarchives, the progressive rock ultimate discography

JAZZ ROCK/FUSION

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Jazz Rock/Fusion definition


  1. Jazz Fusion is jazz that is strongly influenced by other styles of music. Jazz fusion is an ambiguous term that provides the first level sub-set down from Jazz. Jazz rock is a sub-sub set from jazz via jazz fusion. The ambiguity comes from an American tendency through the 90's and until now, to freely interchange jazz rock and jazz fusion, when in fact the latter term covers most hybrids of jazz fused with other forms of music. The roots of jazz rock can be traced back to RnB influenced soul-jazz artists such as Les McCann, Grant Green and Jimmy Smith, and young British jazzers such as Graham Bond, Ginger Baker, John McLaughlin, Jack Bruce, Georgie Fame, who were forced to use electronic instruments because the local club's acoustic instruments were reserved for the older established jazz musicians. Probably the first jazz artists that released recordings that mixed modern rock (circa 60s) with jazz were Larry Coryell, Jeremy Steig, Charles Lloyd, The Soft Machine, and The (Jazz) Crusaders. Meanwhile rock artists such as Cream, Grateful Dead and The Jimi Hendrix Experience were getting a lot of publicity and fame with their lengthy improvisations based on blues, rock, psychedelia and some jazz. These rock artists had an impact on Miles Davis who generated a lot of media attention to this new jazz-rock genre with his Bitches Brew album. From there the genre grew and exploded into numerous different directions. One of these directions was brass rock as exemplified by bands like Dreams, Chicago, BS&T and If. These bands combined elements of jazz, rock and classical music with arrangements for brass and woodwinds.

  2. Many other styles of music have been combined with jazz to create fusion including traditional music from around the world, R'n'B, rock, electronic music and pop music and jazz from Africa, Latin America, India and other places. One of the earliest examples of the use of the term fusion comes from the Indo-jazz fusion of Joe Harriott and John Mayer. Some of the more popular early practitioners of fusion included Weather Report and Herbie Hancock's Sextant. A few years later Shakti appears on the scene and expands the boundaries of fusion further, foreshadowing the World Fusion movement of the 90's.

  3. In part Nu.jazz grew out of the British acid jazz scene of the late 80s and early 90s, whilst modern leaders of nu.fusion cite Miles Davis and Jon Hassell as the godfathers of the genre. As the genre began to develop it took on other influences such as world beat/jazz fusion, psychedelic trip-hop, post-rock and mixtures of ambience with modern jazz. The jazz with electronia experiments that Jon Hassell was conducting in the late 80's, with the likes of Eno, were to be a major influence especially on the dance side of nu.jazz, sometimes known as nu.fusion. Three main elements make nu.jazz different from the more traditional jazz (rock) fusion. First of all there is less of an emphasis on instrumental virtuosity in nu.jazz (especially nu.fusion). Second, more use of electronics (especially skilled turntablism) and studio trickery that emphasizes sound textures. Third, nu.jazz tends to use more modern rhythms such as drum'n'bass, hip-hop, post-rock, and various mixtures of world beat rhythms. Progressive nu.jazz artists such as Bugge Wesseltoft, Nils Petter Molvaer and the Esbjörn Svensson Trio (E.S.T.), combine complicated compositions with modern rhythms to create new unheard of soundscapes - while the former two are leaders of nu.fusion, and with more emphasis on jazz playing, EST have been the leaders in straighter nu.jazz. Nu.jazz is loosely connected to other newer jazz fusion genres, particularly the more progressive live, jazz jam bands such as Medeski Martin & Wood or Garaj Mahal. It may seem that the only difference between the two genres is the country the artist is from or what scene they came up through.li>

Only the most progressive of nu jazz, jazz-rock and fusion artists are listed on Progarchives, although accceptability or not here may vary from person to person. All artists have elements of progressive rock in their music (e.g. Jean Luc Ponty, Bill Bruford or David Sancious) or they represent the most forward-looking and progressive element in their genre (e.g. Miles Davis, Herbie Hancock or Weather Report). It should be noted that those many Canterbury jazz rock fusion bands, e.g. Soft Machine, Soft Works, Soft Heap, Soft Machine Legacy, Gilgamesh etc. are to be found under the CANTERBURY heading in Prog Archives.

Dick Heath
John 'Easy Money'
Martin 'Alucard' Horst
(Edition 3.2. Nov 2009)

Current Team Members as at 12/24/14

Evolver (Scott)
Man With Hat (Phil)
Darkshade (Mike)
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Jazz Rock/Fusion Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Jazz Rock/Fusion | More Top Prog lists and filters

4.36 | 920 ratings
KIND OF BLUE
Davis, Miles
4.33 | 1154 ratings
BIRDS OF FIRE
Mahavishnu Orchestra
4.30 | 635 ratings
IN A SILENT WAY
Davis, Miles
4.28 | 514 ratings
SPECTRUM
Cobham, Billy
4.31 | 237 ratings
WE'LL TALK ABOUT IT LATER
Nucleus
4.30 | 253 ratings
HIROMI'S SONICBLOOM: TIME CONTROL
Uehara, Hiromi
4.26 | 866 ratings
THE INNER MOUNTING FLAME
Mahavishnu Orchestra
4.41 | 83 ratings
THE COLOURS OF CHLOË
Weber, Eberhard
4.26 | 599 ratings
ROMANTIC WARRIOR
Return To Forever
4.25 | 619 ratings
BITCHES BREW
Davis, Miles
4.24 | 513 ratings
ABRAXAS
Santana
4.24 | 638 ratings
CARAVANSERAI
Santana
4.23 | 720 ratings
ELEGANT GYPSY
Di Meola, Al
4.27 | 230 ratings
LES PORCHES
Maneige
4.31 | 134 ratings
STADACONÉ
Sloche
4.29 | 143 ratings
A BENEFIT OF RADIM HLADÍK [AKA: MODRÝ EFEKT & RADIM HLADÍK]
Blue Effect (Modrý Efekt; M. Efekt)
4.31 | 119 ratings
SVěT HLEDAčů
Blue Effect (Modrý Efekt; M. Efekt)
4.28 | 143 ratings
MILESTONES
Davis, Miles
4.28 | 134 ratings
SVITANIE
Blue Effect (Modrý Efekt; M. Efekt)
4.24 | 212 ratings
PAT METHENY GROUP: THE WAY UP
Metheny , Pat
4.23 | 292 ratings
ENIGMATIC OCEAN
Ponty, Jean-Luc
4.23 | 280 ratings
CROSSINGS
Hancock, Herbie
4.21 | 340 ratings
VALENTYNE SUITE
Colosseum
4.24 | 182 ratings
MAIDEN VOYAGE
Hancock, Herbie
4.30 | 91 ratings
BIG FUN
Davis, Miles
4.34 | 69 ratings
L'AXE DU FOU - AXIS OF MADNESS
Forgas Band Phenomena
4.23 | 178 ratings
TILT - IMMAGINI PER UN ORECCHIO
Arti e Mestieri
4.64 | 25 ratings
REALIZATION
Henderson, Eddie
4.39 | 50 ratings
QUALIA
Syrinx
4.23 | 151 ratings
HARAKKA BIALOIPOKKU [AKA: B THE MAGPIE]
Pohjola, Pekka
4.24 | 120 ratings
'ROUND ABOUT MIDNIGHT
Davis, Miles
4.49 | 34 ratings
TERJE RYPDAL
Rypdal, Terje
4.20 | 195 ratings
A TRIBUTE TO JACK JOHNSON
Davis, Miles
4.24 | 112 ratings
PAT METHENY GROUP: OFFRAMP
Metheny , Pat
4.20 | 163 ratings
J'UN OEIL
Sloche
4.58 | 25 ratings
Вижу Землю / LOOKING AT THE EARTH
Gunesh Ensemble
4.20 | 155 ratings
MYSTICAL ADVENTURES
Ponty, Jean-Luc
4.16 | 291 ratings
HYMN OF THE SEVENTH GALAXY
Return To Forever
4.32 | 56 ratings
LEB I SOL 2
Leb I Sol
4.23 | 97 ratings
DEDALUS
Dedalus
4.21 | 110 ratings
MILES DAVIS QUINTET: MILES SMILES
Davis, Miles
4.30 | 58 ratings
VIOLATO INTATTO
Accordo Dei Contrari
4.43 | 35 ratings
THE HOOK
Tolonen, Jukka
4.29 | 61 ratings
JAN HAMMER GROUP: OH,YEAH?
Hammer, Jan
4.16 | 212 ratings
WHERE HAVE I KNOWN YOU BEFORE
Return To Forever
4.24 | 84 ratings
DARK SHOT
One Shot
4.15 | 244 ratings
AJA
Steely Dan
4.28 | 62 ratings
DEDICATED TO YOU, BUT YOU WEREN'T LISTENING
Tippett Group, The Keith
4.17 | 179 ratings
THE LOST TRIDENT SESSIONS
Mahavishnu Orchestra
4.17 | 171 ratings
WHAT IF
Dixie Dregs
4.26 | 69 ratings
ORGANIK
Niacin
4.19 | 123 ratings
SECRET STORY
Metheny , Pat
4.13 | 341 ratings
SANTANA
Santana
4.15 | 199 ratings
FAIRYPORT
Wigwam
4.29 | 54 ratings
AGITOR LUCENS V
Arco Iris
4.34 | 43 ratings
SUDAMÉRICA - O EL REGRESO A LA AURORA
Arco Iris
4.29 | 51 ratings
FABULIS MIRABILIBUS DE BOMBYCOSI SCRIPTIS
Kenso
4.36 | 38 ratings
SPEAK NO EVIL
Shorter, Wayne
4.23 | 64 ratings
RAHMANN
Rahmann
4.17 | 102 ratings
PAT METHENY & LYLE MAYS: AS FALLS WICHITA, SO FALLS WICHITA FALLS
Metheny , Pat
4.20 | 80 ratings
INDÍGENA
Mar De Robles
4.28 | 48 ratings
CRNA DAMA [AKA: BLACK LADY]
Smak
4.11 | 283 ratings
BRUFORD: ONE OF A KIND
Bruford, Bill
4.25 | 55 ratings
EWAZ VADER
One Shot
4.20 | 73 ratings
ALMA DE DIAMANTE
Spinetta Jade
4.32 | 39 ratings
UOMA
Uzva
4.12 | 170 ratings
QUANTUM
Planet X
4.09 | 315 ratings
UNORTHODOX BEHAVIOUR
Brand X
4.12 | 163 ratings
SEXTANT
Hancock, Herbie
4.12 | 160 ratings
CHICAGO [AKA: CHICAGO II]
Chicago
4.20 | 69 ratings
FERMÁTA
Fermata
4.18 | 83 ratings
PIHKASILMÄ KAARNAKORVA
Pohjola, Pekka
4.18 | 81 ratings
SENTIMENTS
Iceberg
4.82 | 13 ratings
GUILLAUME PERRET & THE ELECTRIC EPIC
Perret & The Electric Epic, Guillaume
4.17 | 84 ratings
LAMBERTLAND
Tasavallan Presidentti
4.12 | 156 ratings
VISITATION
Pohjola, Pekka
4.44 | 25 ratings
THE FOLLOWING MORNING
Weber, Eberhard
4.22 | 59 ratings
BELIEVE IT
Williams Lifetime, Tony
4.18 | 77 ratings
4TH
D.F.A.
4.59 | 18 ratings
AD PERPETUUM
Fafard, Antoine
4.13 | 123 ratings
MANEIGE
Maneige
4.14 | 107 ratings
MILES DAVIS QUINTET: NEFERTITI
Davis, Miles
4.18 | 71 ratings
STRAIGHT TO THE KRANKENHAUS
Secret Oyster
4.09 | 228 ratings
BLOW BY BLOW
Beck, Jeff
4.10 | 149 ratings
MASQUES
Brand X
4.18 | 65 ratings
CONTRE-COURANT
Opus-5
4.23 | 48 ratings
RUCNI RAD
Leb I Sol
4.53 | 19 ratings
HALLUCINATION ENGINE
Material
4.39 | 26 ratings
MUNDO FLOTANTE
Ontalva, Ángel
4.07 | 236 ratings
MOROCCAN ROLL
Brand X
4.43 | 23 ratings
RITES
Garbarek, Jan
4.36 | 28 ratings
DIUMENGE
Companyia Elèctrica Dharma
4.09 | 138 ratings
METAL FATIGUE
Holdsworth, Allan
4.11 | 115 ratings
EROTIC CAKES
Govan, Guthrie
4.14 | 78 ratings
WATERCOLORS
Metheny , Pat
4.11 | 111 ratings
HUASCARAN
Fermata
4.19 | 53 ratings
LOS ELEMENTALES
Arco Iris
4.25 | 40 ratings
MORNING SUN
Caplan, Gadi
4.27 | 36 ratings
SPEAK LIKE A CHILD
Hancock, Herbie
4.34 | 28 ratings
SIMILARITY
Eyot

Jazz Rock/Fusion overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Jazz Rock/Fusion experts team

LIVE AT MONTEREY (DON ELLIS ORCHESTRA)
Ellis, Don
SUPER FLY T.N.T
Osibisa
NAWYKI PRZYRODY
Robotobibok
RHESUS O
Rhesus O

Latest Jazz Rock/Fusion Music Reviews


 Violato Intatto by ACCORDO DEI CONTRARI album cover Studio Album, 2017
4.30 | 58 ratings

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Violato Intatto
Accordo Dei Contrari Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars Wow! The opening song of this album turned me off so much that repeatedly I never went forward to listen to the rest of the album. What a mistake! As MellotronStorm reviewed this album a month or so ago, proclaiming it to be his front-runner for Album of the Year, I knew I had to give it a serious chance. I'm glad I did. This is definitely one of the most complicated and creative albums I've encountered all year. Well done!

1- "Folia Saxifraga" (4:27) opens with a full-frontal bang right into a fast-paced SEVEN IMPALE-like jam. Sax solo at 2"40 is clearly jazz while the organ and odd-tempo rhythm section beneath gets louder and more insistent. (So Seven Impale-ish!) A little too long in the extension of the repetitive sections and too dissonant from the sax. My bad. (8/10)

2- "Monodia" (6:38) opens with some really cool muted bass organ notes before bursting into a kind of VDGG/SEVEN IMPALE sound--sax and all. After the long introductory period (almost two minutes) we settle into a off-beat organ-arpeggio-led section over which electric guitar solos. In the fourth minute organ does a little solo, too, before sax takes a turn. It's very cool when multiple horns and organ start playing a gorgeous jazz melody together. Amazing! Now THIS is progressive rock music as it should be! In the fifth minute things scale back to a kind of "Watcher in the Skies" fast-pulsing non-straight-time beat before things amp up with the whole band getting into a weave. Awesome song! (9.75/10)

3- "Blue-S" (5:43) harkens back to some old blues rock styles and chord progressions from the 1960s--only with the trick of placing it all within an odd time signature--like "Peter Gunn" with a bluesier, off-tempo, more difficult composition. Not my favorite but kudos for creativity. (8.5/10)

4- "Shamash" (8:07) opens with more experimental sounds--this time crazily distorted and fast-echoed, slow decayed electric guitar chords. At the two minute mark the sound experiments end and we enter into another complex, odd-timed CRIMSONIAN song with distorted electric guitar and then distorted violin solos above the rhythm section though within the music. There is a lot of BLACK SABBATH/URIAH HEEP-like organ hidden deep within the sounds of these songs. The song shifts and the violin gets let loose--soaring and then returning to the fold, over and over again. This is awesome! Then, at 5:43, everything cuts away and the opening effect returns but modified slightly to comport the single-note play of the guitar. Then there is an odd fade out at 6:18 before the band returns en force with what feels and sounds like a completely different sound (and song!) (9/10)

5- "Idios Cosmos" (6:20) jazzy solo sax playing chromatic scaled arpeggi opens this one before alternating for the first minute with full band entries and exits. Then a spacey, almost MAHAVISHNU or NOVA-like spacey, all- instrument tuning and warming up section ensues. At 2:15 a new structure starts up, again KING CRIMSON is the only band I can compare this sound with as there are smooth elements contrasted with jagged, angular sounds and stylings, perhaps even playing in polyrhythms. The drumming here is really cool--beautiful cymbal sounds. At 4:05 there is yet another cut out, space out, and freak out before the sax begins to peak its head into the mix. It takes a full minute, however, for the space synths to be subdued by the sax. The final half minute is the full band playing together. Interesting. I understand conceptually and technically what they are doing. I'm just not as fond of this for a "repeat/replay" song. (8.5/10)

6- "E verde è l'ignoto su cui corri" (7:15) guitar and organ take turns laying down some nice, delicate arpeggi with some interspersal of light drums and bass before female vocals enter (singing in English--in a kind of ELAINE DI FALCO way). Against a pretty weave of picked acoustic and electric guitars Patrizia's voice is multi-tracked within the non-standard scale GENESIS-like guitar picking weave. Enter electric piano-sounding organ and we have a gorgeous classic GENESIS-like weave. Truly beautiful in an tributional though entirely original way. And it's extended for a nice length of time--to the end of the song! Wow! Was that unexpected and delightful! (10/10)

7- "Marienkirche" (3:40) heavily treated/sound-manipulated bells, human voices, and percussives--perhaps even a looped treatment of a recording of some German church bells (I know there was a wonderful Marienkirche in München.) But wait! Isn't this the domain of fellow Italian sound engineer Stefano Musso?!?!?! (I love it!) (9/10)

8- "Di eccezione in variante" (7:23) opens with an electric guitar arpeggio palyed against its own echo before drums, bass, and organ join in. At 1:10 the rest of the band gels into a cohesive unit around the separately established melody lines (polyphonic?) of the guitar, bass, organ, and drums. Then, in the third minute, a new way of expressing the weave congeals into a collective weave--all members performing within the same universe. At 3:38 the heavily distorted sax-sounding electric guitar wails into the scene above rhythm section and organ. This goes on for a full minute before things take a turn and then shut down. Empty space is filled by the electric piano starting up its melody line, all by itself, before the rest of the band joins in with a heaviness provided by sax and electric guitar power chords. Again, these are not your typical melody chords, they are chromatic in the typical YUGEN and KING CRIMSON fashion. (9/10)

9- "Usil" (6:38) another wonderfully organ-based song of odd tempos which lets the sax and bass lead the melody for the first two minutes. Electric piano chords signal an upcoming shift, eased by the disappearance of the sax and bass organ arpeggi. Guitar and electric piano take over the lead weave before sax, bass line and organ re-enter and take it back. At 3:33 there is a settling into a rhythm with some nice electric piano support chords while the sax takes off in a true jazz improvisational solo. At 4:30, things cut again while a slow weave of cymbals, spacey sax and guitar play our over a base of steady electric piano arppegi. (9/10)

10- "Eros vs Anteros" (10:02) opens with a little Latin/Spanish/Santana-like melody riff played repeatedly for the first 30 seconds before a little lull allows the entrance and rise of a low-end Moog-like synth bass line to establish itself in the foreground. Soloing electric guitar wails away during most of this while the flangy bass synth seems to keep drawing my attention. I expect to find some African American bass player from the 1970s credited with this bass synth play. The guitar solo is long and at times unexceptional but gets stronger by the end. At 3:25 things shift dramatically leaving a JC Superstar like arpeggiated bass line to lead us through a long swirling organ solo. Actually quite an awesome section. This continues till 5:50 when things shift, almost feeling like an intro to a 60s rock song, before the band returns to another variation of the original Latin melody riff. This allows a window for the drummer to show off his creative chops until 7:50. The next section has a kind of "White Rabbit" melody.chord progression to it. The final minute is left to a lone soloing steel-string acoustic guitar. Kind of Ry Cooder-like. Great stuff. Very creative. (10/10)

11- "Il violato intatto" (7:08) opens with fast-paced electric piano arpeggio repeated over and over while bass pedals, organ and guitar eventually creep into the mix. When the piano eventually shifts its octave and doubles up, the rest of the band fades out and then comes back with a different weave. In the fourth minute an old-sounding synthesizer joins in and plays some subtle soloing over the course of the next minute. Ominous, heavy group play beneath the electric piano fills out ninety seconds of the final two minutes, while solo sax plays alone, against its echoed self, for the final 30 seconds. A top three. (9.5/10)

Five stars; a masterpiece of complex, boundary-pushing progressive rock music.

 Placebo by PLACEBO album cover Studio Album, 1974
3.92 | 11 ratings

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Placebo
Placebo Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars PLACEBO were a Jazz/ Rock band out of Belgium led by keyboardist Marc Moulin. This is their third studio album released in 1974 and Marc was certainly an experienced musician at this point being in his early thirties and being in the music business for some time already. He would later join AKSAK MABOUL playing on their debut. The other name I recognize is guitarist Philip Catherine who had already played on that incredible SUNBIRDS debut and he would also join with fellow guitarist Larry Coryell for some albums. Prog Archives shows a 12 piece lineup here with a lot of horn players and even some accordion. As Hugues mentions in his excellent bio of this band there is a MILES DAVIS and NUCLEUS vibe at times, usually when the trumpet is in play.

"N.W." opens with bass, a beat, cymbals and electric piano before the horns kick in. All these sounds come and go here and it's quite laid back and relaxed. I really like this. Tasteful is the word with the bass and drums being the constant throughout as other instruments come and go.

"Plotselling" opens with electric piano and cymbals followed by guitar and a beat. Flute before a minute. Horns start blasting around 1 1/2 minutes. Some nice guitar work after 2 minutes, very fluid. I love this stuff! It almost stops 4 minutes in as a drum solo kicks in and lasts until after 5 minutes when the electric piano, bass, guitar and more join in. Horns follow and they will get dissonant before 7 minutes.

"Bosso" opens with electric piano, drums, bass and guitar as a horn comes in over top. This is fairly uptempo and jazzy. The guitar replaces the horn after a minute with some fast paced playing. The flute joins the guitar a minute later. Catchy suff.

"Dag Madam Merci" starts out with bass, electric piano and a beat before the horns come in blasting followed by some jazzy guitar. Man that sounds like clavinet before 1 1/2 minutes. "Hop Hop" again opens with bass, drums, electric piano and more before the horns arrive blasting after 1 1/2 minutes. Some interesting intricate guitar melodies in this one. Why could they not have named this "Hip Hop"?

"Tanga" opens with the drums and electric piano sort of playing together as horns come in briefly then synths before the horns return. Accordion after a minute as it is contrasted with synths until 2 1/2 minutes in when the horns return.

"Stomp" must be a code name for funky? Yes this is funky and we get some trumpet after 2 minutes then the horns blast before 2 1/2 minutes as the funk continues. Synths to the fore then it's the horns again before 5 minutes followed by a manipulated horn. Electric piano then starts to lead late.

"S.U.S."opens with sounds that echo as cymbals can be heard and sparse percussion. Bass and drums join in just before a minute then a horn. So cool. Trumpet just before 2 minutes. Melancholic synths replace the trumpet after 2 1/2 minutes until horns arrive again at 3 1/2 minutes.

If your into that early Jazz/ Rock sound similar at times to NUCLEUS and Miles you should at least have a listen. A solid 4 stars.

 Big City Awakes by ON THE RAW album cover Studio Album, 2017
4.00 | 10 ratings

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Big City Awakes
On The Raw Jazz Rock/Fusion

Review by fenman

4 stars I found this album on Bandcamp and bought a download. There is a lot of instrumental or largely instrumental prog/jazz/fusion around these days, much of which is well played but, unfortunately, not very memorable. What attracted me to this is the sense of melody and the strength of the compositions. In addition it isn't over-produced in the way that too much stuff is today. It is nice to be able to hear each instrument clearly, rather than through layer upon layer of synthesised keyboards.

Parts of it have similar appeal to Spyro-gyra or some of Larry Carlton's late 70's-early 80's albums. Though it is melodic, it certainly isn't anodyne. Kraan also comes to mind. A good four star effort.

 Negative Toe by CAMEMBERT album cover Studio Album, 2017
4.58 | 14 ratings

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Negative Toe
Camembert Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars Strasbourg's eccentric and eclectic Zeuhl/avant garde/RIO "ensemble" (more like a small orchestra!) have produced a sequel to their 2011 "soundtrack" to an imaginary alien space invasion. The band has matured as both individual instrumentalists and as a cohesive collective. The sound engineering is amazing--one of the best I've ever heard-- and the story and even the masterfully crafted music continues to employ an extraordinarily high degree of humour. I find myself laughing and crying within the same songs as we follow the latest installment of the alien Schn'rgls' conspiratorial encounters with Earthlings

1. "Orteil n'gatif--Once Upon A Time In The Galax-cheese" (3:13) opening with a joyful, confident announcement of the band's incredible precision, new maturity, and sci-fi story to come, percussives and staccato syncopation introduce the story before the music fades into a low, ominous foundation for the eerie "radio" communications that follow (the Schn'rgls have been encountered!). Masterful intro! They've got my attention! (4.5/5)

2. "Fecondee par un extra-terrestre" (15:10) opens with 45 seconds of Zeuhl-like insistence before everything turns to a gentle Latin rhythm-based harp-based section. Cool! A minute later, it switches as other band members join in, then turns more jazzy as the horns join in during the third minute. Another shift at 3:30 presents an adorable and pretty "wuah" sound that sounds like a cute alien fart or baby burp (the birth of "El Pulpo"). When the band reunites in full force at the end of the fourth minute, it seems like the outburst is totally jovial, even celebratory. At the end of the sixth minute another shift employs long, deep bass notes, steady drums, electric guitar soloing (which is rare) and all kinds of horns and percussives interspersed. A minute later, things quite down while very delicate play from keys, xylophone, harp, and oboe (and later flutes) very slowly, very gradually build in force and volume. this is gorgeous! By the time 9:45 rolls around and the horns unite in sectional bursts we think it's culminating--but, no! Another lull while cymbals, touch-guitar chords and winds present yet another variation on the theme. This is amazing! The compositional and performance skills on display here are utterly inconceivable! Like an orchestral composition! At 12:30 there is another radical tempo and stylistic shift while woodwinds seem to be "tuning" in the background, the bass and rest of the rhythm section (which is HUGE!) gel into a very Zeuhl-like sound and style. Horns carry the melody forward while harp and vibes fast-weave beneath, just above the rhythm section. Amazing! (10/10)

3. "Gros Bouquin" (11:11) Opens with some full band chord hits before quickly settling into a funky-jazzy rhythmic sound for vibes and flutes to present a fast-paced melody. At 1:15 everything quiets down while flutes and other high winds present an airy space. Then we burst back into the bass-led Caribbean funk so that horns can have their solo time. Trumpet takes the lead for the next minute while bass and harp provide the steady foundation. Drums and multiple hand percussion play along though very much in a simplistic supporting role. The song is supposed to represent a musical rendering of the process of extracting the sexual energy from rabbits in order to empower the Schn'rgls' secret weapon, the Negative Toe. (8.5/10)

4. "The Lament Of Pr. Frankenschn'rgl" (9:11) a slow, methodically-paced song with lots of space and lots of staccato notes produced in small, steadily paced packages from a wide variety of instruments including some from Oriental traditions. This one also has nicely arranged choral arrangements (sung in English!) professing the Schn'rgl military scientist's doubts, regrets, and worries. Such a simple and pleasant song, this in great contrast to the frenzy of multiplicities that was song #2. A great display of control and restraint--both in composition and especially in performance. Mathematically I'm sure this song would be quite interesting to study. The final 90 seconds begin to exude some of the insistence of the Zeuhl world in both vocals and drums and bowed bass--and finishing off with a little crazed cacophony--which is a perfect lead-in to the next song. (9/10)

5. "Skwitch" (14:47) opens with multiple instruments contributing to a low end dominated, ominous opening. At the two-minute mark things quiet down--as if the protagonists are trying to hide or be unnoticed--while retaining the creepy tension from the opening. At 4:10 we again switch tempo while the same delicate instrumental weave re- establishes itself--this time with hand percussion, harp and vibes providing the filler. At the end of the sixth minute the music drops out leaving some very sparsely populated guitar, harp, bass, and creepy trumpet hits while a creepy monster-like human voice vocalizes noises not unlike those of the trumpet. Well into the eighth minute, the horn solo becomes far more "normal"--jazz-like--but then it is suddenly submitted to some very odd under-water- like muting effects (elephantine) while the rest of the band, formerly quiet and reserved, begin to rise up and "swallow" the trumpet within their methodic tapestry. At 9:57 everything stops. Silence. Then very syncopatedly- spaced staccato hits from a variety of instruments gives the sound and melody a stark, almost "disappearing" feel. Horns and harp allow for some feeling of return to occur. Boisterous bass-end bursts seem to be on the verge of disrupting all flow of the base-line tapestry--until they all merge at the beginning of the thirteenth minute. The final two minutes seem to be telling the story of the monster's demise and death. Overall, this is a great mid-tempo song with frequent time changes and polyrhythmic weaving of the multiplicity of instruments. Something about the mood, melodies, and intricacies of this song make it my favorite--despite the fact that it's supposed to tell the story of the future destruction of one of my favorite places on Earth, la cath'drale de Strasbourg, by a cybernetic laboratory elephant. (9.5/10)

6. "El Pulpo" (3:19) oboe, guitar play out a sad melody over harp and bowed double bass before vibes and horns come in to present their antiphon of support. Then at 1:25, all music fades away. Empty space is then gradually invaded by low foghorn-like horn bursts while seaside sounds and human whistling and other pseudo animal sounds are disbursed throughout the soundscape. I guess it's supposed to be the cries of El Pulpo as he and his mother escape to South America by sea-going vessel. (4.5/5)

Five stars; definitely a masterpiece of modern progressive rock--though this album feels as if it belongs more on the Avant Garde/RIO spectrum than the Zeuhl they were associated with in their previous album. Great to have Pierre and company back! And mega-kudos to the engineering/production team! AMAZING sound reproduction!

 Schnörgl Attahk by CAMEMBERT album cover Studio Album, 2011
3.88 | 47 ratings

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Schnörgl Attahk
Camembert Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars With a name like CAMEMBERT and the fact that they are from France you know GONG has to be an influence. I would say Frank Zappa comes across as even more of an influence when I listen to this. Lots of vibes and xylophone while the guitar brings Frank to mind at times. I mean some of these passages really come across as a homage to Frank's music. MAGMA is also an influence as we get a few passages that are clearly Zeuhl inspired. Besides the usual instruments and the ones I've mentioned already we get harp, trumpet, didgeridoo, tuba, bass trombone, tenor trombone and congas.

They are on the Altrock label and some Italians from that label help out as we get Zago from YUGEN adding guitar on one track along with two guys from SKE helping out. This was three years in the making and the reason I've been spinning this all week is because they have just recently released a brand new album called "Negative Toe" which is getting some rave reviews already. Man what a wacky science fiction concept this is even though this is an instrumental album. I can see how GONG inspired such a story(haha). A pretty cool story at that and other reviewers have touched on the concept.

"Infinicheese" is haunting and dark and headphones are a must in this experimental soundscape. Love this stuff as sounds start to pulse loudly as different sounds come and go. It blends into "Clacos Zero" where the same sound continues. Horns blast in a powerful way to end it.

It's almost funny the way it goes from this serious soundscape to all these vibes, xylophones and percussions with horns taking over on "Untung Untungan 2.0". Very Zappa like even the horns. Powerful and punchy sounds befoe it settles with bass before 2 minutes and builds. So good! Great sound 3 1/2 minutes in as it turns somewhat jazzy with electric piano, a beat and bass. Soon the horns come in blasting over top. A calm just before 6 minutes with picked guitar and harp as the bass and drums join in. It's building. Love those horns just before 7 minutes. A change to a strong Zappa vibe just before 9 minutes. It turns powerful just as it ends.

"Clacos 1: Notre Mere A Tous" features sounds that echo and this fits in well with those two short intro tracks as we get lots of atmosphere. Some picked guitar and horns late in this interesting soundscape. "El Ruotuav Ed Sram" is mellow with guitar and cymbals before we get a full sound rather quickly with horns, vibes and more. This really sounds like Zappa around 4 1/2 minutes. A calm before 6 minutes. It's building after 7 minutes. I'm so impressed with all of this. "Clacos 2: Die Experimente Von Dr. Frankenschnrgl" has these dramatic sounds and mad laughter like out of a movie, lots of horns too.

"Le Meurtrior Volant" starts off dramatically with a nod to Zeuhl. Dark with powerful outbursts and electric piano. Nice. The Zappa vibe takes over before 1 1/2 minutes but then it settles into a haunting mood with sounds coming and going. There's that Zappa sound again as contrasts continue. A lazy guitar solo arrives before 4 minutes surprisingly. It ends around 5 minutes. I like when it settles right down with sparse sounds as it drifts along with harp, drums and more. Horns arrive after 7 1/2 minutes blasting then an almost silent calm takes over around 8 minutes. More harp too then it kicks back in with a heavy rhythm. Nice.

Next is the closing four piece suite called "La Danse Du Chameau" and the first part is called "Batifolade". Uptempo guitar melodies to start but they are blown away by this Zeuhl army marching into battle. Horns just before a minute as the march continues. It will end at 1 1/2 minutes as the tempo picks up with horns over top. Check out the guitar before 3 minutes that will continue to the end as it goes on and on.

"Soif!" has these dramatic outbursts that come and go. Horns start to blast as discordant piano joins in this avant soundscape. "La Tempete De Sable" opens with punchy sounds as it builds. I like that guitar. Horns eventually join in as well as those punchy sounds continue. It's more powerful around 2 1/2 minutes and the guitar sounds even better. The song starts to wind down before 3 1/2 minutes. Nice ending.

"Reveries Lubriques Sous Une Dune" has sparse guitar, a bass line and harp before that Zeuhl army arrives. It all stops late but for the bass line and guitar. Soon it's powerful to end it. "The Final Run" has guitar just like the previous section with powerful and dark atmospheres. Outbursts of power follow with percussion. Soon it picks up with a great sounding rhythm. Love the drums, percussion and bass with harp over top. It settles right down with percussion before 2 1/2 minutes. Soon horns and more join in. It turns more upbeat around 3 minutes. Some brief Zeuhl vocals before 4 1/2 minutes signals a change as it calms right down with a horn and a light beat to end it.

A must for those into adventerous music, I can only imagine how good the new one must be. Hopefully I will be able to let you know soon.

 Morning Sun by CAPLAN, GADI album cover Studio Album, 2016
4.25 | 40 ratings

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Morning Sun
Gadi Caplan Jazz Rock/Fusion

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars Continuing on my odyssey of discovering albums I should have heard long below, here is Gadi Caplan's third studio album, which was released in the middle of 2016. Originally trained on piano as a child, Caplan switched to guitar in his teens and developed a passion for rock and blues which took him on many journeys. He lived in India for two years studying traditional Indian music and sitar, before moving to New York City in 2006 where he joined various rock bands, then to Boston in 2007 to study jazz, fusion and funk along with composition at the Berklee College of Music. Now based in Brooklyn, in 2014 he joined The Weeping Willards on lead guitar, forming a strong relationship with singer/composer Danny Abowd. And they soon started writing songs together which form the backbone of this album.

On this album Gadi provides guitar, bass and synth while Danny provides vocals and trombone. There are some songs when it is just the two of them, but they also know what is needed to take the music to the next level, and have brought in some guests as well, who all play a major part in how the album sounds. Bruno Esrubilsky is on drums and percussion, Duncan Wickel on violin, viola and cello, Jesse Gottlieb background vocals and trumpet, Jonathan Greenstein on tenor sax, Christian Li on keyboards and Jay Gandhi on bansuri flute. At times, I am reminded of the music of Anthony Phillips, turned into songs with wonderful vocals, at others it is more like world music with so many different influences all combining into something that is Western but being taken to a new level. Although it is laid- back and never forceful, there is a sense of real purpose and direction in this album, so much so that it cannot ever drift into the background as the listener keeps wanting to understand where the next musical twist will take them. Reminiscent at times of Gilmour or Chandler, Gadi's solos are always part of the piece as a whole, and his skill is in never really taking centre stage, but letting the vocals do their job while he layers on both acoustic and electric guitars. This is a truly glorious album.

 Dark Shot by ONE SHOT album cover Studio Album, 2008
4.24 | 84 ratings

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Dark Shot
One Shot Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars Those who know their prog history will recall that zeuhl can be best thought of as a weird offshoot of jazz fusion, with early Magma releases being along decidedly fusion-oriented lines (in keeping with Christian Vander's reverence of John Coltrane) before shifting into the "Klingon opera" mode of peak zeuhl.

One Shot are a group who vividly recall zeuhl's fusion roots, and who play a style of fusion which bridges classic fusion of a dark, volcanic Mahavishnu Orchestra bent with zeuhl stylings, particularly when it comes to having a dark, pulsating rhythm underpinning their compositions. Ewaz Vader, the release preceding this, pioneered this style very effectively, whilst Dark Shot takes it even further, immersing the listener into a subterranean world of sinister zeuhl- fusion guitar growls and keyboard titters. Deserves the consideration of fans of both subgenres.

 Violato Intatto by ACCORDO DEI CONTRARI album cover Studio Album, 2017
4.30 | 58 ratings

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Violato Intatto
Accordo Dei Contrari Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

5 stars I was completely blindsided by this album. I own their first two studio albums and both are solid 4 star albums but "Violato Intatto" takes them to a new level in my opinion. Now I did miss the previous album "AdC" so I need to rectify that but it's like this album was taylor made for me. So powerful with what I thought was outstanding in your face bass lines but was told by Giovanni the keyboardist that he makes the bass sounds with his organ now that the bass player was replaced by a sax man. There's also lots of horns, guitar and some killer drumming. Cool that the DEUS EX MACHINA violinist guests on one track. So much of this album is familiar, reminding me of music I know and love. Without question a top three for me for 2017 and possibly number one. This was recorded live in studio with some overdubs. I didn't mention the mellotron or Fender Rhodes two of my favourite instruments right there. This is simply outstanding from beginning to end, no weak songs even though it's over 73 minutes in length. It's mostly instrumental but for the guest female vocals on track 6.

"Folia Saxifraga" gets us started as it hits the ground running and there's so much going on. Organ to the fore as the drums pound. The sax is back! A powerful first minute then we get this psychedelic calm that's quite spacey. This is better. Drums after 2 minutes then it kicks back in. Dissonant sax after 2 1/2 minutes as the organ and drums create a rhythm.

"Monodia" is a top three song for me. Deep organ sounds vibrate my speakers before it kicks in heavily. The horns give me a SOFT MACHINE/ NUCLEUS vibe for sure. Love how the organ growls away here. The tempo starts to pick up around 2 minutes. I'm just blown away here as the guitar makes some incredible noise. The horn before 4 minutes sounds amazing playing over top. Check out the organ before 5 minutes then the guitar and drums take over. Horns are back quickly though. Powerful stuff then that SOFT MACHINE vibe returns late to end it. Nice.

"Blue-5" opens with organ and guitar as we get some heaviness as the soundscape shakes. A horn comes in over top. Great section after 2 minutes with the organ, drums and horns especially. It settles down some before 3 minutes then a catchy horn led section takes over a minute later that lasts to the end.

"Shamash" features that DEUS EX MACHINA violinist. Experimental sounds to start. I believe that's guitar as the synths create atmosphere. It kicks in heavily just before 2 minutes. So good! That organ is incredible. It does settle back briefly though before 4 1/2 minutes with some interesting violin as the drums crash the scene then it kicks back in again. The violin starts to shred then we get another calm before 6 minutes that is exotic and experimental. This reminds me of Krautrock believe it or not. It kicks back in with violin.

"Idios Cosmos" opens with a horn melody and it will come and go as powerful outbreaks trade off with it. An experimental calm follows then it kicks in before 2 1/2 minutes with honking horns and in your face organ and drums. Love this earth moving organ along with the Fender Rhodes as the horns blast away. A spacey calm before 4 1/2 minutes then it starts to build a minute later with honking horns, organ and drums again.

"E Verde E L'ignoto Su Chi Corri" is a top three for me. Intricate sounds to start with cymbals as well. This reminds me of Sweden here. Drums just before a minute. Guest female vocals before 1 1/2 minutes in this more laid back setting. She's really good. Check out the subtle keys 4 1/2 minutes in and again Sweden comes to mind. What a moving track for me. Mellotron waves continue to roll in to the end.

"Marienkirche" is experimental at first I'm not sure if these are samples or not but they vaguely remind me of a train but the sound is deconstructed it would seem. It fades away anyways as organ and atmosphere take over but soon that opening soundscape is back after 2 minutes to the end. Love that they did something that "out there" on here.

"Di Eccezione In Variante" along with "Shamash" make my top five. Check out the picked guitar melodies along with the keys and atmosphere. Drums after a minute. Soon it's drums and keys only then the guitar starts to echo. Gotta love the electric piano and drums here. It's becoming more powerful then the guitar comes to the fore after 3 minutes. Killer organ too in this amazing section that kicks ass! A calm with keys 5 minutes in before kicking back in heavily once more.

"Ulis" opens with keys and cymbals before it kicks in rather heavily with horns over top. Catchy stuff. A calm arrives but not for long as the organ joins the energetic soundscape as the horns blast away. It settles back again with electric piano, a beat and some innovative horns. So good!

"Eros Vs Anteros" is my final top three track. We get an ethnic vibe to start as horns and an energetic sound lead the way. The keys bring AREA to mind. Nice rhythm section before a minute as the guitar solos over top. Incredible! Checkout the organ after 4 minutes, this sounds amazing. It settles back 6 minutes in with some acoustic guitar and more before kicking back in with horns over top. This section is really repetitive until we get a change 8 minutes in as the organ replaces the horns and rips it up. The horns are back! Suddenly it's acoustic guitar only after 9 minutes to the end.

"Il Violato Intatto" ends the album in style as we get electronics at first as a deep atmosphere rolls in. Sounds start to drone as well. Interesting. Distorted keys and a determined beat take over around 3 minutes. Horns lead before 5 minutes as it stays fairly heavy. There's that distorted organ again. Electronics only before 5 1/2 minutes like the intro but then the drums and horns return. Horns only before 7 minutes.

This has impressed me like little else this year other than the WOBBLER recording. Easily 5 stars and possibly my album of the year.

 La ligne perdue by OUTRE MESURE album cover Studio Album, 2015
3.05 | 2 ratings

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La ligne perdue
Outre Mesure Jazz Rock/Fusion

Review by Windhawk
Special Collaborator Honorary Collaborator

3 stars French band OUTRE MESURE started out back in 1999. Following an initial demo a few years later the band released their debut album "Abacadaë" in 2009 through Musea Records imprint Great Winds. "La Ligne Perdue" is their second full length CD, and was released through French label Circum-Disc in 2015.

Those who tend to enjoy jazzrock bands that include avant details, improvised sequences and occasional lapses into free form territories should find this second album by Outre Mesure to be an interesting production to explore. Especially those among them that enjoys an expressive and jazz-oriented approach to this kind of music, as well as material that comes across as challenging and fairly demanding also from a technical point of view.

 Keri by PHLOX album cover Studio Album, 2017
4.03 | 11 ratings

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Keri
Phlox Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. Man this band has released three incredible albums in a row now although this is studio album number five for them as I haven't heard the first two. They've been making music now for over 15 years and they are from that obscure country called Estonia. No I don't like the album cover. They are a five piece band of drums, guitar, keyboards, bass and sax. We get five guests adding vocals, violin, accordion and an exotic instrument I've never heard of. This is Jazz/ Fusion but with some avant flourishes throughout making this a really interesting listen. The Fender Rhodes is all over this and that's in part why I rate this so highly.

"Mahlad" opens with distortion galore. Hello! The guitar starts to rise out of this followed by drums then the sax as it honks madly. Like my drive to work(kidding). We get this repetitive groove as the sax and violin start to play over top. Bass after 2 minutes along with Fender Rhodes. Check it out after 3 minutes as we get mayhem as the violin shreds over top. So good! It settles with sax before 4 1/2 minutes but soon the sax is dissonant as the music becomes more powerful. Another calm after 5 minutes with Fender Rhodes, drums and sax. Love the drumming here. Guitar to the fore after 6 1/2 minutes. The final calm arrives a minute later and continues to the end with sax and bass.

"Rotwang" opens with drums and some other-worldy growling sounds. Sax comes in as the sounds from the beast come and go. The tempo picks up after 2 minutes as the Fender Rhodes and bass join in. Nice. Some inventive guitar after 3 minutes. A calm with electric piano 5 minutes in to end it. Oh, the beast gets the last growl here. "Kasi" is a minute long piece with absolutley insane sounding sax and sounds with vocals to match.

"Plindon Tuindoind" opens with electric piano as synths play a melody that is copied by the Fender Rhodes, drums and bass. Soon this heavy, mechanical sound pulses loudly. Experimental is the word. Check it out around 2 minutes, this is so interesting and experimental. I have no idea what all these sounds are. There must be samples here too. The music kicks in after 3 1/2 minutes with electric piano and drums followed by bass then sax after 4 minutes to the end. So good!

"Itk" opens with Fender Rhodes as we get this great sound as a beat joins in. Bass and guitar follow then the sax comes in over top. Love that Zeuhlish rhythm before 2 minutes with demented vocals. Surprising. The sax is back along with that previous soundscape after 2 1/2 minutes. More crazy vocals after 3 1/2 minutes with some insane instrumental work.

"Betoonpurjed" is surprisingly catchy with electric piano, cymbals and guitar. The bass joins in too then sax. I like when it settles back after 1 1/2 minutes with electric piano, drums and bass. Really good! Distorted keys around 2 minutes. The sax is back then it picks up before 3 minutes as the tempo continues to shift. It picks up again before 4 1/2 minutes with guitar soloing over top. The sax replaces the guitar before 5 minutes.

"750" opens with relaxed guitar melodies as Fender Rhodes then sax joins in. This is melancholic then we get a calm before 1 1/2 minutes before drums, bass and more take over, but that guitar melody returns along with electric piano and sax like before. Sad music. A change though before 2 1/2 minutes as the sax becomes more melodic and we get some accordion too as the bass and drums support. A chilled out tune but a beautiful one.

"Puu Taga Ilves" ends it and I like the space as we get that exotic instrument as other sounds start to come and go including sax. The guitar is atmospheric when it joins in crying out in the background. So cool. The drums and bass help create a base here. A fuller sound 2 1/2 minutes in with the sax continuing over top. The guitar starts to light it up 3 1/2 minutes in then it all settles back 4 minutes in and the sax returns. Great sound 5 minutes in as it turns powerful with electric piano over top. A calm late with sax to end it.

This will be included on my 2017 best of list for sure. Just an entertaining album that features plenty of Fender Rhodes and outstanding playing throughout while being inventive and interesting. My kind of music.

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Jazz Rock/Fusion bands/artists list

Bands/Artists Country
3RD WORLD ELECTRIC Multi-National
4 FRONT United States
7 FOR 4 Germany
EIVIND AARSET Norway
JOHN ABERCROMBIE United States
ABLUTION Sweden
ABRAXIS Belgium
ABUS DANGEREUX France
ACCORDO DEI CONTRARI Italy
ADDISON PROJECT Canada
AERA Germany
AFROSKULL United States
AGHARTA Canada
AGORA Italy
AIN SOPH Japan
AKA MOON Belgium
JAN AKKERMAN Netherlands
AL DI MEOLA - MCLAUGHLIN - PACO DE LUCIA Multi-National
ALAS Argentina
ALKEMY France
ALKOTRIO Russia
ALTRUISMOS Argentina
AMARILLO CIAN Y MAGENTA Costa Rica
AMIGDALA Italy
ANAMORPHOSE France
ANANGA RANGA Portugal
ANIMUS TRIO Argentina
APOSTOLIS ANTHIMOS Poland
ANTIHÉROE Argentina
ANWKOZIK France
APOTHECARY United States
AQUARELLE Canada
ARATTA REBIRTH Armenia
ARCANA United States
ARCHIMEDES BADKAR Sweden
ARCO IRIS Argentina
NEIL ARDLEY United Kingdom
ARENA Australia
BRUCE ARNOLD United States
ARSENAL Russia
ARTI E MESTIERI Italy
TIHOMIR POP ASANOVIC Yugoslavia
ASCORBIC ACID Russia
ASSOCIATION P.C. Multi-National
ASSOLO DI BONGO Italy
ASTRAKAN United Kingdom
ASTRO CAN CARAVAN Finland
ATMOSPHERES Multi-National
ATTENTION DEFICIT United States
BRIAN AUGER United Kingdom
AUM Brazil
AURORA United States
AVANT GARDEN United States
AVIOLINEE UTOPIA Italy
AXIS Greece
AYERS ROCK Australia
AZIGZA United States
B F Estonia
BAALBEK Argentina
BACK DOOR United Kingdom
BAKMAK Germany
BANDHADA Chile
BANDVIVIL Japan
BANGTOWER Multi-National
PETER BANKS United Kingdom
BARCELONA TRACTION Spain
PETER BARDENS' MIRAGE United Kingdom
IL BARICENTRO Italy
RANJIT BAROT India
BAUHAUS Italy
JEFF BECK United Kingdom
BEDJABETCH France
BELLA BAND Italy
BEN United Kingdom
BERITS HALSBAND Sweden
ALESSANDRO BERTONI Italy
BIFURCATA Mexico
BLACK LADDER United States
ALAIN BLESING France
CARLA BLEY United States
BLIXT Multi-National
BLOOD SWEAT & TEARS United States
BLUE DRIFT United Kingdom
BLUE EFFECT (MODRÝ EFEKT; M. EFEKT) Czech Republic
BLUE SUN Denmark
BOHEMIA Czech Republic
CELINE BONACINA France
BONFIRE Netherlands
BOSQUE Serbia
BOUD DEUN United States
BOUNTY United States
GARY BOYLE United Kingdom
BOZON United States
BOZZIO LEVIN STEVENS United States
BRAINCHILD United Kingdom
BRAINSTORM Germany
BRAND X United Kingdom
THE BRECKER BROTHERS United States
EVAN BREWER United States
NILI BROSH United States
BROTHER APE Sweden
BROWN VS BROWN Netherlands
JACK BRUCE United Kingdom
BRUFORD LEVIN UPPER EXTREMITIES United States
BILL BRUFORD'S EARTHWORKS United Kingdom
BILL BRUFORD United Kingdom
CHRIS BUCK United States
DEWA BUDJANA Indonesia
BURNIN' RED IVANHOE Denmark
BUSHMAN'S REVENGE Norway
BWANA Nicaragua
CAB United States
CAMEMBERT France
JORGE CAMPOS Chile
FRANCIS CANG Philippines
GADI CAPLAN Israel
ALAIN CARON Canada
CARPATHIA PROJECT Hungary
CASH PONY United States
CENTIPEDE United Kingdom
CEREBUS EFFECT United States
CHAD SMITH'S BOMBASTIC MEATBATS United States
DENNIS CHAMBERS United States
CHAMELEON Sweden
CHASE United States
CHEIRO DE VIDA Brazil
CHICAGO United States
CHUTE LIBRE France
CINCINNATO Italy
CIRCUS United Kingdom
CIVILIANS United States
CLAREON United States
STANLEY CLARKE United States
NELS CLINE United States
BILLY COBHAM United States
ORNETTE COLEMAN & PRIME TIME United States
STEVE COLEMAN United States
COLOSSEUM United Kingdom
COLOSSEUM II United Kingdom
COMA Denmark
COMPANYIA ELÈCTRICA DHARMA Spain
CONFUSION Greece
BILL CONNORS United States
CONTEMPORARY NOISE SEXTET / QUARTET / QUINTET Poland
GIANFRANCO CONTINENZA Italy
CONTINUUM Multi-National
CONTREVENT Canada
CONTUSION Argentina
COPERNICUS CROW United States
COPIOUS United States
CHICK COREA ELEKTRIC BAND United States
CORONARIAS DANS Denmark
LARRY CORYELL United States
CURT CRESS Germany
CRIMSON JAZZ TRIO United States
DAVID CROSS United Kingdom
CRY FREEDOM Germany
CRYPTO Netherlands
CYKLUS Germany
CYMANDE Multi-National
CYMBALIC ENCOUNTERS United States
CZAJKOWSKI MINNEMANN United States
D.F.A. Italy
DARK Multi-National
MILES DAVIS United States
KOEN DE BRUYNE Belgium
LOUIS DE MIEULLE France
DEDALUS Italy
DEFUNKT United States
JACK DEJOHNETTE United States
DEMON FUZZ South Africa
DEN ZA DEN Yugoslavia
DENNIS Germany
DESATANUDOS Argentina
DEUS EX MACHINA Italy
AL DI MEOLA United States
DIES GOA UNIT Monaco
DISCORDIAN SOCIETY United States
DIVJE JEZERO Slovenia
DIXIE DREGS United States
DJABE Hungary
DJAMRA Japan
DOGG MANSION United States
DON GATO Peru
VIRGIL DONATI Australia
DOUBT United Kingdom
BOB DOWNES' OPEN MUSIC United Kingdom
DR. DOPO JAM Denmark
RIENTS DRAAISMA Netherlands
MLADEN DRAGOVIC Serbia
DRAW THE SKY France
DREAMS United States
DROBAN-APHERNA Portugal
DUELLO MADRE Italy
JOEL DUGRENOT France
GEORGE DUKE United States
DZAMBLE Poland
E MOTIVE United States
EAST WIND POT Japan
EDGE United Kingdom
EDITION SPÉCIALE France
EDO Canada
EELA CRAIG Austria
ELECTRIC OUTLET Germany
ELECTROMAGNETS United States
ELEPHANT9 Norway
DON ELLIS United States
EMBRYO Germany
EMERGENCY Multi-National
ENERGIT Czech Republic
ENERGY OF SOUND United States
ERGO United States
ERGO SUM France
ESAGONO Italy
ESSENTIAL HAZARD United States
ETNA Italy
EVOLUCIÓN Chile
EX VITAE France
EXAMPLES OF TWELVES United Kingdom
EXMAGMA Germany
EXTRA BALL Poland
EYES OF ETHEREA Australia
EYOT Serbia
EZOO Multi-National
ANTOINE FAFARD Canada
YIORGOS FAKANAS Greece
FANG CHIA United States
FANTASIA CROMATICA Argentina
FARMERS MARKET Norway
FAT SPARROW Australia
THE FATHERS OF GOOD SOUNDS Russia
FEAT. ESSERELÀ Italy
FEEDBACK Slovenia
FENOMEN Turkey
THE FENTS United States
FERMATA Slovakia
FICTION United States
FILULAS JUZ Mexico
FINNFOREST Finland
FIRE MERCHANTS United Kingdom
FIRYUZA Turkmenistan
A FISH'S DIVING SUIT Germany
DAVID FIUCZYNSKI United States
FLAMENGO Czech Republic
FLAT 122 Japan
BELA FLECK AND THE FLECKTONES United States
FLYING ISLAND United States
FORGAS BAND PHENOMENA France
PATRICK FORGAS France
THE FOURTH WAY United States
THE FOWLER BROTHERS (AIR POCKET) United States
FRAGILE Japan
FRAGMENT37 United States
FREAKZOID United States
FREE WAVE SYSTEM Italy
FREEHAND United States
BILL FRISELL United States
FROGG CAFE United States
FROSTY LEO Australia
FUGU France
FULANO Chile
FULLMOONS Greece
G.A.O.S. Japan
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